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MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, March 21, 2015
Bruno Ferrandis, conductor. Olga Kern, piano

Pianist Olga Kern

RAVISHING RUSSIAN MUSIC AND SOLOIST BURNISH SRS CONCERT IN WEILL

by Terry McNeill
Saturday, March 21, 2015

It’s rare in a symphony concert, even one with many surprises, that a soloist takes on two disparate concertos with mostly identical results. But it was exactly the outcome of pianist Olga Kern’s appearance March 21 with the Santa Rosa Symphony in Weill Hall.

Surprises? The first came with her poetic but subdued performance in Rachmaninoff’s Op. 1 F-Sharp Minor Concerto. Choosing an approach removed from the standard heroism (recordings by the composer and compatriot Mikhail Pletnev) she adopted subtle inner rubatos and voices at the expense of big sonority, even in the first movement sections that clearly reflect the Grieg Concerto written 23 years before Rachmaninoff’s First. The well-played cadenza was assured but lacked the intense ecstasy that is needed throughout cadenzas in the composer’s concertos.

The Andante Cantabile was perfection, a lyric rumination where conductor Bruno Ferrandis crafted phrasing that melded with Ms. Kern’s deft dynamic control. The final arpeggio in the piano was lovely, as was the horn playing of Meredith Brown. The finale had the requisite excitement that easily overcame short sections where orchestra and soloist were not in sync and where the former’s sound covered the latter. There was a standing ovation and obviously the audience of 1,100 appreciated hearing Rachmaninoff other than the vastly more popular Second and Third Concertos and the Paganini Rhapsody.

Following intermission the pianist attacked Prokofiev’s D-Flat Major Concerto, the first of his five, and her dry and properly acerbic sound could be heard more clearly than the Rachmaninoff through Prokofiev’s lean orchestral texture. Another surprise was when Ms. Kern unexpectedly inserted small tempo changes and accented bass notes that were artistic and delightfully un-Prokofiev, so different from the composer’s directions for an energetic “mechanical” meter. Her skips and long left-hand crossed notes were always accurate in a work that demands just the right amount of percussive accents and fetching momentum. The applause was loud and long

It’s difficult to upstage a glamorous soloist as Ms. Kern, but I believe it was done in the reading of the 1945 Suite from Stravinsky’s 1910 ballet “The Firebird.” Mr. Ferrandis drew from the ensemble a 23-minute performance of shimmering orchestral virtuosity. The conductor, like Michael Tilson Thomas in San Francisco, has an affinity for this music and the playing in the Suite’s 11 sections was exhilarating. Among the sterling playing was a duo from Ms. Brown and oboist Laura Reynolds; harpist Dan Levitan; flutist Kathleen Lane Reynolds and Stacey Pelinka (doubling on piccolo); the trombone section; bassoonist Carla Wilson; and clarinetists Roy Zajac and Mark Wardlaw.

Stravinsky’s consummate orchestration was so vivid in Weill’s acoustics (sitting in the balcony) that the involved piano part, often submerged in similar music by Copland and Shostakovich, was distinctly heard. Kymry Esainko was the pianist.

Responding to the ovation the effervescent Mr. Ferrandis was called back several times, and took palpable pleasure in pointing to orchestra members to stand and acknowledge the acclaim for the exemplary
achievement in Stravinsky’s iridescent Suite.

Ed. Note: this review is the second of two for this concert